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Vintage Guitars Info - Gibson Collecting Vintage Gibson Guitars
Vintage Guitars Info - Gibson Collecting Vintage Gibson Guitars
html#serial
Gibson vintage guitars history and collecting. Private vintage guitar collector. Pictures, history for gibson
vintage guitars.
Contact the vintage guitar info guy.
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EH-150
EH-100
EH-125
EH-185
EH-275
Roy Smeck Special
BR-4
BR-6
BR-9
UltraTone/BR-1
SkyLark EH-500
Century-6
RoyalTone
EB-1
EB-2, EB-2N, EB-2D
EB-6
EB-0, EB-0F, EB-0L
EB-3, EB-3L
Thunderbird II
Thunderbird IV
A model Mandolin
A-0 Mandolin
A-00 Mandolin
A-1 Mandolin
A-2, A2-Z Mandolin
A-3 Mandolin
A-4 Mandolin
A-5 Mandolin
A-40 Mandolin
A-50 Mandolin
EM-100, EM-125 Electric Mandolin
EM-150 Electric Mandolin
EM-200 Electric Solidbody Mandolin
F-2 Mandolin
F-4 Mandolin
F-5 Mandolin
F-7 Mandolin
F-10 Mandolin
F-12 Mandolin
H-0 Mandola
H-1 Mandola
H-2 Mandola
H-4 Mandola
H-5 Mandola
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K-1 Mandocello
K-2 Mandocello
K-4 Mandocello
K-5 Mandocello
Schematics:
Humbucking two pickup Gibsons.
P-90 two pickup Gibsons.
P-90 one pickup Gibsons.
Varitone Circuits, pre-1974.
Varitone Circuits.
Varitone Bypass Circuits.
Electric Solid body Gibsons: body is a solid piece of wood (no soundhole or cutouts), 1.5" to 2"
thick, pickups and knobs routed into the top of the guitar.
Flattop Acoustic Gibsons: single round sound hole under the strings, body 3.5" to 4.5" thick with
a flat top, usually not electric (but often owners add a sort of bolt-on electric assembly).
Acoustic Archtop Gibsons: two "f" hole style sound holes cut in the top, body 3" to 4.5" thick,
slightly arched top, acoustic with no pickups (but sometimes these models have bolt-on electic
assembly added later by players).
Electric Archtop Gibsons: same as above ("f" holes, arch top) but the factory installed electric
pickups into the guitar with volume/tone knob(s).
Electric Thinline Archtop Gibsons: same as above (electric with two "f" holes in the top), but the
body is thinner at 1.5" to 2" thick. These are always electric from the factory.
Electric Lapsteel Gibson: a small solidbody guitar (no cutouts or sound holes) that is played in
the lap, Hawaiian style, with a metal slide bar, pickup and knob routed into the top.
Once the type of guitar is determined, figuring out the exact model is MUCH easier! (just go to one of
the above six linked webpages that describes your guitar, and compare each model specs to your
guitar, until you find the one that matches).
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Probably the first thing when trying to determine the year on an old Gibson is whether the guitar was
made "pre-WW2", during WW2, or "post-WW2". This is easy to do, as Gibson used different peghead
logos for pre-WW2, "wartime", and post-WW2 (see the General Specs section for more details).
Knowing the general era of the Gibson guitar will make Gibson's rather complicated serial
number/FON systems less tangled.
What is the color of the top of the guitar? Common top colors include "sunburst" (a yellow center
that fades to a darker red or brown around the edges), black, natural and "cherry red" (a
translucent red which shows the wood grain).
What is the color of the back of the guitar? Common back colors include translucent dark brown,
translucent light brown, sunburst, cherry red, etc.
What is the body size? (measure the guitar across the top at the widest point, which is the
guitar's "hips"). This is really important for all model types except solidbody electrics.
What is the style of fingerboard inlays? (dots, blocks, trapezoids, double parallelagrams, etc.)
What is the style of "Gibson" peghead logo? That is, is it white silkscreen, gold silkscreen, or
pearl inlay? Also if the logo is pre-WW2, wartime, or post-WW2 (see above). Also fancier models
can even have some sort of pearl inlaid decoration (a "crown" or long skinny "diamond") on the
peghead just below the "Gibson" logo.
What is the style of binding? Binding is the whitish/yellowish/tortoise "band" that goes around
the edges of the body. Most Gibsons have some sort of body binding. Often binding is multi-
layers (white/black/white, etc). Some guitars also have binding on the neck. The more binding a
guitar has, the fancier the model.
Gibson invented the archtop guitar as we know it and has remained one of the better makers.
The most collectible Gibson archtops are the larger models made from the early 1930's to 1959.
The Advance (17" or wider) models from late 1934 onward are of the same construction used in
today's archtops. The Lloyd Loar signed L-5's, the pre-war Super 400, and Advanced L-5 archtops
are highly collectible. The pre-war cutaway L-5 and cutaway Super 400 are also known as
Premier models. Non-cutaway models are not nearly as collectible as cutaway Premier models.
Cutaway archtop models made from 1946 to 1959 are also very collectible, but are not as much
as the pre-war Advance Premier models. Non-cutaway post-war models are interesting but not
very collectible. Archtop cutaway models made from 1960 to 1969 are also very good
instruments, but are not nearly as collectible as the pre-1960 models and are more utility
instruments.
Flat tops of the 1940's and 1950's are also excellent instruments. Since they are much more
common, they are also easier and less expensive to obtain.
Gibson flat tops of the 1960's and 1970's seem to be inferior in tone and construction to the
same models of the 1950's. This is generally blamed on adjustable bridges that were standard on
all models in the 1960's. Also the end of "sloped" shoulder body styles helped alienate players
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Postwar full depth, non-cutaway models were generally designed as student models and are not
very valuable. Post-war Gison electric archtops with cutaways from the 1950's are considered to
be excellent and collectible. The deluxe models, such as the L-5CES, Super 400CES from the
1950's are very collectible. The laminated body models, such as the ES-5, ES-350, ES-175 and
ES-295 are not worth as much as the solid wood model, but are valuable.
Thinline, semi-hollow electrics from 1958 to 1964 are very cool and wanted by players and
collectors. The ES-335, which had the lowest list price of the ES-335/ ES-345/ ES-355 group, is
considered to be the most collectible (even though it is the plainest). The Varitone/Stereo
system of the ES-345/ES-355 is less desirable than the simple ES-335 design. Also, the stop
tailpiece setup of the ES-335 is more collectible than the vibrato or trapeze tailpiece systems.
Double neck models with carved spruce tops are different than any other Gibson design. Because
of this they are collectible. Solidbody double neck SG style guitars are not nearly as desirable,
though popularized by bands such as Led Zeppelin in the 1970s.
Generally speaking, Gibson doesn't have much of a reputation as an electric bass maker. Though
the first electric Gibson bass introduced in 1953 (known as the EB-1) is interesting, it's not
desirable to the player. The late fifties EB-2 and EB-6 are also interesting, but don't appeal
widely to players. Likewise the Thunderbird II and IV basses are nice companions to the Firebird
guitars, but again don't appeal to players. Because of this, the collectibility of Gibson basses is
somewhat limited, especially when compared to Fender electric basses.
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country music after WWII, demand and production for mandolins stayed low.
Fingerboard Woods
Fingerboards, bridges and other small parts made from rosewood are all the Brazilian variety till
1966. Starting in 1966, Gibson changed to Indian rosewood.
Left: Pre-WW2 pearl script logo. Note no letters drop below the other letters.
Middle: Post-WW2 pearl 1948-1951 style logo with connecting dot. The "G" and the "n" drop below
the other letters, and the open "b" and open "o" (open at the top of the letters) were used in their
pearl logos until 1969.
Right: "Pantograph" logo used from 1969 to 1984. Note the closed "b" and "o".
Fret size
Gibson used a smaller .070" wide frets until about 1959. Then the width changed to .100". This
happened to pretty much all models at some point in 1959. There were some exceptions though,
like the Les Paul Custom (which kept the smaller .070" wide frets, as it was labeled the "fretless
wonder").
Peghead Logos
Pre-war Gibson script logo used before 1948. No letters drops below the other letters.
Left: Gold post-war logo on a Les Paul Junior. The "i" dot
was always attached on all of these post-war gold logos.
Middle: Pearl post-war logo with detached "i" dot on a
1957 Les Paul. This style logo with detached "i" dot was used
from 1951 to 1969, and again from 1985 to present.
Right: War-time gold script "only a Gibson is Good Enough"
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Finish.
Gibson always used nitrocellulose lacquer for all instruments from the 1910's to present. The
standard colors for most instruments was Sunburst, Natural, black, white, cherry red, (Les Paul)
TV yellow, or (Les Paul) gold. Some other special order custom colors were available.
During the late 1950's, the red ainline used in their sunburst finishes often faded. This problem
was fixed by mid-1960, though sometimes you see it on later 1960's models.
Left: Oval white label as used from spring 1947 to January 1955.
Right: Orange label as used from January 1955 to 1964. The 1964 to 1969 orange labels are identical,
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except for the added text "union made". Note the faint ink stamp along the bottom of the label denoting
"STEREO VARITONE" (though non-union made labels are seen later).
Left: Orange "union made" label as used from 1964 to 1969. Note the "union made" designation to the left
of the "Gibson" insignia. When Gibson was bought by Norlin in 1969, thousands of these labels were
discarded (and replaced with white and purple "Norlin" labels). These blank unused labels were snatched up
by many guitar dealers, and are still available today.
Rigth: White label used from 1908 to 1932. This particular label is from a 1929 L-4 model.
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L-5CES, Byrdland, Super 400CES use laminated maple. From 1960 to 1969, all models including
the above use laminated maple back and sides.
Left: wrap-around "uncompensated" smooth stud bridge/tailpiece unit on a 1960 Les Paul TV Special (note
the black covered P-90 "soapbar" pickup). This style bridge/tailpiece was used from 1953 to 1961. In 1961, it
changed to a "compensated" style unit with "stairsteps" for each string.
Right: tunematic bridge ("no wire") and stop tailpiece on a 1957 goldtop Les Paul (note the partial shown
white covered P-90 "soapbar" pickup at the bottom of the picture). Tunematic bridges started showing up on
many Gibson models in 1955.
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1953: Wrap around stud bridge/tailpiece combination unit used on only solidbody models. Ears
on tailpiece 3/16" thick and often cracked at the intonation adjustment screw.
early 1955: Wrap around stud bridge/tailpiece combination ears increased in thickness from
3/16" to 1/4" to prevent breakage. This tailpiece was used until the 1970's on some models
including the SG Junior.
1956: metal threaded inserts for the wrap-around and stop tailpieces increase in length from
1/2" to 3/4". This was an important change on wrap around tailpieces, because it stopped the
wrap-around from leaning forward and cracking the body wood (often seen on 1954-1955 Les
Paul Juniors and Specials).
1954: Tunematic bridge ("no wire", stamped underneath "ABR-1", metal saddles) and stop
tailpiece. First appeared on the Les Paul Custom in 1954, and the Les Paul Standard in 1955.
Many electric archtop models also converted to the tunematic bridge. Only the Les Paul Junior
and Special (and later Melody Maker) continue to use the previous wraparound stud tailpiece.
1961: Stud wraparound tailpiece unit (as used only on the lower-end models like the SG Junior
at this point) now have compensated "stair steps" cast into the unit.
1962: Tunematic bridge "with wire" (still stamped "ABR-1" on bottom). The wire goes over the
six saddle screw heads to prevent the saddles from popping out during string changes.
1963/1964: Tunematic bridge uses white nylon saddles instead of nickel plated brass saddles.
1965: Tunematic bridge now chrome plated, no longer stamped "ABR-1" on bottom (replaced by
casted patent number). Stop tailpiece now chrome plated too, and replaced on many models
(like the ES-335) with a trapeze tailpiece.
1966: Metal saddles replace the nylon saddles on the tunematic bridge.
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Pickups.
"Charlie Christian" pickup. Single coil black pickup with a blade, V-ends, white binding around
the blade and/or outside, large magnets (not visible), 3 mounting screws thru the top of the
guitar: 1935-1940
Diagonal mounted single coil pickup. Two variations, one almost 6" long extending diagonally
from the bridge to almost the neck, the other shorter and more conventional looking and
mounted at less of an angle. Both seen on ES-300 model: 1940-1942
Finger rest pickup system: First cataloged as a "conversion" pickup. Volume and tone controls
and pickup integrated into the pickguard. Available with 1 or 2 pickups. Also known as the
"McCarty" pickup system. Available for acoustic archtops such as the L-7, L-5 and Super 400:
1948-1971
Fixed pole P-90 pickup. Non-adjustable pole P-90 pickup, single coil, 6 magnet slugs down
center, black "dog ear" pickup cover: 1946-1950
P-90 pickup. Same as fixed pole P-90, except now has adjustable slot-head poles: 1950-present
"Soapbar" P-90 pickup, same as above, but pickup cover has no "ears": 1952-present
Alnico V pickup. Looks like a P-90 soapbar pickup, except has "staple" poles with adjusting
screws next to the poles. Used on upper line models: 1954-1957.
Humbucking pickup. two internal coils below a 1.5" x 2.75" metal cover. One row of 6 adjustable
slot-head poles off-center: 1957-present. Cover was gold, nickel or (after 1965) chrome plated.
Prior to about mid-1962, have small decal on bottom stating "Patent Applied For". These are
known as "P.A.F." pickups. Starting in about mid-1962 to early 1963, a "Patent No." decal
replaces the P.A.F. decal. Most 1957 humbucking pickups (first year) have no decal, and a more
squarish stainless steel cover. Also 1957 to early 1959 P.A.F. pickups have brass screws holding
the plastic bobbins to the metal frame. The internal plastic coil bobbins are usually black plastic,
but sometimes they are white (this happened mostly in 1959 or early 1960). You can see the
color of the wire bobbins by removing the small underside mounting screw (instead of removing
the pickup cover). More information and pictures of PAF pickups can be seen here.
Pickguards.
Most Gibson pickguards prior to the mid-1970's were made from celluloid. This
material can deteriote with time (the tortoise colored pickguards especially
exhibit this trait).
Flattop pickguards: from the 1930's to 1955, Gibson flattop pickguards were
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Pickguard Bevels: on Gibsons that used a solid black pickguard, the material
was a layered black/white/black/white/black design. The edges were cut
beveled to make them look like they had binding. In 1966, the bevel changed
from being very wide and flat, to a narrow and steeper cut.
Top row: on the left is the first Gibson electric knob as used on ES model guitars from 1947 to early 1950
(no numbers). Next to it is the ugliest pre-1970 Gibson knob, known as the "amp" knob, used from late 1966
to the mid-1970's (but not on all models).
Middle row, left to right: Tall numbered gold knob, used from 1950 to 1952, "speed" knob as used from
1953 to 1955, "bonnet" knob as used from 1955 to 1960, "metal top bonnet" knob or "reflector" knob as
used from mid-1960 to mid-1970s (on many, but not all models).
Bottom row, left to right: switch tips used. The left switch tip was used on multiple pickup models from
after WW2 to about 1960. This knob is bakelite and very amber in color. Next to it is the 1960 version where
the switch tip changed to a plastic material that stayed white, and had a visible seam.
Bottom row black knobs, left to right: depending on the color of the guitar, some models starting in the
early 1950's used black versions of the above gold knobs. These correspond to the same years as the above
gold versions.
Knobs.
Smooth rounded top, bumps around top edge, some with arrow across top, 1 black and 1 brown:
1935-1939
Smooth top, 8 sided, arrow across top, 1 black and 1 brown: 1936-1942
Radio knob. 3 sets of ridges on sides: 1936-1942
Barrel knob. 5/8" tall, straight sides, barrel shaped, clear with no numbers: 1946-1949
Barrel knob. 5/8" tall, straight sides, barrel shaped, back painted gold, clear with numbers 1 to
10 visible thru knob: 1949-1952
Speed knob. 1/2" tall, straight sides, barrel shaped, back painted gold or black, clear with
numbers 1 to 10 visible thru knob: 1953-1955
Bonnet knob. Looks like a hat box, flared base, back painted gold or black, clear with numbers 1
to 10 visible thru knob: 1955 to mid-1960
Bonnet knob with metal cap ("reflector" knobs): Used from mid-1960 to mid-1970s. Similar to
bonnet knob but now has metal cap with "Volume" or "Tone" printed in black on the metal cap.
There are two styles of this knob. First was used from mid-1960 to the end of 1961, and have a
shallow post hole (as viewed from the side). The 1962 and later relector knob has a deeper post
hole (the bottom of the post hole comes much closer to the metal cap). Also the reflector on
these knobs can be silver or gold. Guitars with nickel or chrome hardware should have silver
caps. Guitars with gold hardware should have gold caps (though often the gold does wear off).
Barrel knob. similar to bonnet knobs, but now shaped like a barrel with no metal cap. Back
painted gold or black, clear with numbers 1 to 10 visible thru knob: 1968 to present. Note this
knob was used primarily on 1968 Les Paul Custom models till the mid 1970's, when most other
models got these knobs.
Amp knobs. Black knobs with white numbers 1 to 10. Looks like "blackface" Fender amp knobs:
late 1966 - mid 1970's. Some models never got these knobs (such as the 1968 and later Les
Pauls). Used mostly on the hollowbody and semi-hollow models, such as the ES series.
Switch Tips: on guitars with two pickups and a 3-way selector switch, Gibson used an amber-
colored bakelite switch tip during the 1950's. Starting in mid-1960, they switched to a much
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Metal Hardware.
Phillips head screws started to be used at Gibson in 1939 (the phillips head screw was original
patented in 1933). Prior to 1939, all screws should be slot style. Prior to 1965, all metal
hardware is either nickel or gold plated. Starting in 1965, all hardware is either chrome or gold
plated.
Left: "3 on a plate" style Kluson tuners, as used on the lower-line Gibson models.
Right: Kluson Deluxe "tulip" tuners on a 1957 Les Paul. Note this is the "single ring, single line" variety used
from 1955 to 1961. The "single ring" refers to the single ring around the plastic button. The "single line"
refers to the single line of vertical text saying "Kluson Deluxe". Note the "inked on" serial number.
Tuners.
During the 1950's and 1960's, Gibson used Kluson tuners almost exclusively. There were some
exceptions; starting in 1959 you could special order Grover tuners instead of Klusons on many
mid to upper line models including the Les Paul Custom and J-200 models. By 1969, Gibson
starting using tuners with the "Gibson Deluxe" name on them, but these were actually made by
Kluson. More info on Kluson tuners can be found here. Again Phillips head screws started to be
used at Gibson in 1939 (the phillips head screw was original patented in 1933). Prior to 1939,
all screws should be slot style.
Kluson Deluxe Tuner specs (models including 3-on-a-plate and "tulip" designs):
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lubrication holes can be either small or large. On the bottom side of the tuners stamped
into the metal it says "2356766 PAT. APPLD." Tulip plastic tuners knobs have a single ring
around them. These tuners are often called "No Line, Single Ring".
Mid-1956 to late-1958:
Single line "Kluson Deluxe" in a single vertical line on the ribbed metal tuner cover. The
exterior lubrication holes can be either small or large. On the bottom side of the tuners
stamped into the metal it says "2356766 PAT. APPLD." Tulip plastic tuners knobs have a
single ring around them. These tuners are often called "Single Line, Single Ring, Pat
Appld".
Late-1958 to mid-1960:
Single line "Kluson Deluxe" in a single vertical line on the ribbed metal tuner cover. The
exterior lubrication holes can be either small or large (though most are large hole). On the
bottom side of the tuners stamped into the metal it says "D-169400 PATENT NO." Tulip
plastic tuners knobs have a single ring around them. These tuners are often called "Single
Line, Single Ring, Pat Number".
Mid-1960 to 1963:
Two plastic rings on the plastic "tulip" tuner knob. "Kluson Deluxe" still in a single vertical
row. On the bottom side of the tuners stamped into the metal it says "D-169400 PATENT
NO." The exterior lubrication holes are the small type. These tuners are often called
"Single Line, Double Ring".
1964-1969:
"Kluson Deluxe" in TWO vertical lines on the ribbed metal tuner cover. On the bottom side
of the tuners stamped into the metal it says "D-169400 PATENT NO." The exterior
lubrication holes are the large type. On keystone tuners, the buttons become have a slight
green tint to them. These tuners are often called "Double Line, Double Ring".
1969-1974:
Now a double lined "Gibson Deluxe" replaces the double line "Kluson Deluxe". Also the
bottom side stamp "D-169400 PATENT NO." is much deeper and bolder. The base plate for
the tuners also has a more rounded look to it with the edges less defined. This happened
because the dies that stamped out this part were wearing out. The original Kluson tuners
company went out of business in 1974 so this style of tuner was not made again until the
1990s when WD Guitar Products bought the Kluson name (and reissued these tuners).
Gibson often marked inferior quality guitars as "seconds", and sold them at a discount to dealers
or employees. These markings were stamped into the wood on the back of the peghead. A "2"
stamp is sometimes seen, designating a "second", which had some cosmetic flaw. If there is a
serial number on the back of the peghead, the "2" is usually seen centered above or below it.
Also sometimes stamped was "CULL", which is another designation of a second. Again, this
stamp is seen on the back of the peghead. The worse Gibson reject is the "BGN" stamp,
designating that instrument as a "bargin" guitar. These were only sold to employees at
substantial discounts. This stamp is also seen on the back of the peghead. Sometimes the "BGN"
is stamped vertically with the "N" below the "G" which is below the "B". BGN instruments
weren't acceptable to Gibson as sellable to the public.
All second instruments are usually worth less than the same guitar that is not a second (given
condition as the same). BGN instruments are worth less than a second instrument because these
tend to have some fairly serious cosmetic flaw.
Exported instruments to Canada or overseas prior to 1970 where often marked "MADE IN THE
U.S.A." in very small lettering and all on one line. Note this is a different stamp than the one
used from 1970 and later that said "MADE IN U.S.A." on two lines, with no "the" and in same
size type as the stamp-on serial number. This is sometimes stamped on the back of the peghead
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(where a serial number would be on 1961 and later Gibsons). Also it's sometimes seen on the
top edge of the peghead.
After WW2, lower-line Gibson vintage instruments did not have a label to designate the model.
Instead, Gibson just ink stamped the model number inside (on hollow body instruments). If the
instrument had "f" holes, this number was ink stamped in the bass side "f" hole on the inside
back of the instrument. If the instrument was a flat top guitar, this number was ink stamped
inside the round soundhole on the inside back of the guitar.
Gibson Cases
Mid to high-end model guitars during the 1930's and early 1940's used a black case with a red
line around the top edge of the case. The inside is a deep maroon color. Lower models used black
rigid cardboard cases. About 1938, mid to high end model started to use a tweed case with a 3
inch wide red "racing stripe" on the tweed. The inside of these cases are also usually a deep
maroon. These tweed cases were used up to WW2.
Post-WW2 (1947-1960), Gibson offered 3 different cases. The "low grade" case was an
"alligator" softshell case, essentially made of rigid cardboard with a sparse brown lining. This
case also often had a hard thin brown plastic handle that cracked very easily. The "medium
grade" case was a wooden case with a smooth brown outside and usually a sparse green lining
(though different color interiors are seen). The "best grade" (known as the "faultless" case) was
the "California Girl" case, as it is known. This wooden case has a rich brown outside (like a
tanned California girl), and a very plush and rich pink inside. The handle on the medium and
high grade cases was leather covered metal.
Note some models (such as the Les Paul) did not have a medium grade case available (either got
the 'gator case or the Cal Girl case). But the most desirable Les Paul California Girl case is the
model with a curved top and *five* latches so it seems. This 5 latch case was sold with Les Paul
Juniors, Specials and Standards during the late 1950s. Though any 1950s era of these three LP
models could also have a four latch case. Most 1950's Gibson cases had a small (1.5" by 1")
brass plaque on the outside with "Gibson" and a star stamped in it. This was located on the side
of the case by the handle. Note during this period there where three different manufacturers
making cases for Gibson, all with the same basic specs, but slightly different shapes (Lifton,
Geib, Stone). Geib cases are seen mostly in the early 1950's, and Lifton cases in the mid to late
1950's. Stone cases are seen throughout the 1950's, but not to the extent of the other two
manufacturers.
During the 1960's, the Alligator case was still available for low-end models (SG Juniors, Melody
Makers, ES-125, etc.) until 1965. The new low-end case was a black softshell with a plush deep
red lining. The medium grade case was dropped entirely and the new high grade case was black
on the outside, and yellow on the inside. The black outside changed from smooth to rough
during different periods of the 1960's. Also the handle changed from a leather covered metal to
a hard molded plastic type about 1963. The small brass Gibson plaque was still used until the
later 1960's.
In the 1970's, the new high-end case was still a wooden case with a black outside, but a deep
red inside. Most 1970's cases had "Gibson" silkscreened on the outside of the case in white. Also
made during the 1970's is the "protector" case; a huge thing made completely out of molded
plastic. This case was very popular for Les Pauls.
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A picture of a mid-1950's Les Paul brown case is here. This is not the most desirable
of the Les Paul brown cases, as it has a flat top and four latches (typically this style of brown
case was sold with Les Paul Specials and Juniors). Starting about mid to late 1958, the brown
Les Paul case changed to a five latch model. This is considered the "Sunburst" case (even though
most 1958 models still use the older four latch case).
Late 1980's and 1990's reissue cases are copies of the 1950's brown/pink Cal Girl case. These
newer cases have a tag on the inside pick pocket that says "Made in Canada". Also, these cases
have a pink interior satin cover that goes over the top of the guitar before closing the case. And
they also have a combination lock on the main exterior latch and a leather handle. There were
also some early 1980's brown reissue cases (mostly for Les Pauls and Korina reissues) that are
starker versions of the Canadian reissue case. Most recently Gibson has copied the original
1950's Cal Girl case more exactly on their "historic" series reissues.
Gibson Serial Numbers and Factory Order Numbers (How to Find the
Year).
The easiest way to find the year of a particular Gibson instrument is usually by referencing the
instrument's serial number of factory order number.
This following information applies to all Gibson instruments including guitars, mandolins, lapsteels,
basses and others. This information was compiled from these sources: A.R. Duchossior, W. Carter, G.
Gruhn, E. Whitford, D. Vinopal, D. Erlewine.
From 1902 to 1976, Gibson instruments may have a serial number, a FON (Factory Order Number or
code letter), both, or neither. To make things even more interesting, they sometimes wrote the serial
number or factory order number with a near-invisible pencil, sometimes ink-stamped it (in
disappearing ink it seems), and sometimes pressed it into the wood. And the placement of these serial
numbers and FON's (factory order numbers) can be different, depending on the era. Gibson serial
number consistency was never given much thought, as Gibson changed serial number system many
times. Hence, some serial numbers may be duplicated in different years. This is especially noticable
during the 1960's.
Many people ask, "How can I tell the difference between a serial number and a factory order
number?". Sometimes this is difficult, but you have to look at the format of the number, and the
general era of the instrument. Does it have a pre-WW2 script "Gibson" logo? If so, then just look at
the pre-WW2 serial number and factory order number info. This would be the single biggest question
to ask, as pre-WW2 and post-WW2 instruments are numbered quite differently. Also, examine the
placement and style of the numbers and make sure it follows the schemes described.
Another question asked is, "The FON number says the instrument is 1958, yet the serial number says
1959; why are they different?". There is a very logical reason for this. The FON number is stamped on
the instrument very early in the manufacturing process. Most times, the serial number is applied as
one of the last steps (especially on pre-1961 hollow body instruments) when the instrument is nearly
finished. Depending on the demand for the instrument, it could take Gibson up to 6 months to finish
the instrument. Hence the FON number could be one year, and the serial number the next year.
It wasn't till 1977 that Gibson came up with a good serial number system that will last them
indefinately. This new serial number system allows determination of the exact date the instrument was
stamped with the serial number, and the factory of manufacturer.
1902-1908: Often no serial number or model name on label, picture of Orville Gibson and lyre
mandolin, date sometimes penciled under the top (must be seen with a mirror). Or serial
number and model name on white paper label, number range from 0100 to 99999, hand inked
or penciled 1908 to 1932, ink stamped serial number 1932 to 1947.
1908-1930: Factory Order Numbers stamped on neck block inside body.
1925-1931: Some low end models with no numbers. Some models with an ink stamped 3 digit
number on neck block. The FONs were issued sequentially and provide a good way to date a
Gibson guitar.
1931: FON 4 digit numbers start.
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1932-1935: FON numbers "roll over" from 9999, reusing old numbers. Important: this new
series of FONs from 1932 to 1935 are *not* in sequential order (pre-1932 they seem to be
sequential.) It was like in 1932 the FONs were pre-printed, and someone dropped the pile on the
floor.
1935-1941: Factory Order Numbers and Letter Codes. Now FONs contain a letter A to G, ink
stamped on the inside back or on the neck block (flattops), or on the label.
1938-1941: Factory Order Numbers beginning with the letter D to H pressed into the back of the
peghead.
1942-1947: Factory Order Numbers with 3 or 4 digits, followed by a hyphen, followed by 1 or 2
more digits, ink stamped on neck block (flattops) or on the inside back,
1947-1952: Factory Order Numbers of 3 or 4 digits, followed by a hyphen, followed by by 1 or 2
more digits, ink stamped on the inside back.
1952-1961: Factory Order Numbers beginning with the letter Q to Z, ink stamped on inside
back, all hollowbody models.
1947-early 1955: "A" series serial numbers on a white label, on many models.
early 1955-1961: "A" series serial numbers on a orange label, on many models.
1953-1961: Unique solidbody electric guitar "inked" serial numbers.
1961-1969: 4,5 or 6 digit peghead stamped serial number for all models, no MADE IN USA
stamped below.
1969-1975: 6 digit peghead stamped serial number, MADE IN USA stamped below.
1975-1977: tagged (decal) serial number, MADE IN USA below.
1977-present: 8 digit stamped serial number, MADE IN USA stamped below.
1982-present: Reissue and custom shop serial numbers in various formats.
The Factory Order Number (FON) consists of a 3, 4 or 5 digit batch number followed by a 1 or 2
digit sequence number (usually from 1 to 40, but there were some double or triple batches
where the numbers were higher). The following are examples (compiled by Roger Siminoff) of
the batch number portion of the FON. Sorry, I do not have a range of FON's numbers for this
era. The FON was assigned to a guitar when the production was started. It could then take
months (or in the case of Nick Lucas models, years) to finish the instrument. Compare this to
serial numbers which were applied after the model was finished. Just keep that in mind when
looking at FONs.
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Serial numbers are seldon found on instruments made during WW2. But most (not all) have
Factory Order Numbers (FON). These contain a four digit batch number stamped in ink, followed
by a two digit sequence number written in red pencil (during WW2 only). After the war, the red
pencil wasn't used (and on instruments made during the war, sometimes it's really hard to see
the red penciled sequence number). Usually there is no more than 46 instruments (sequence
numbers) per batch. Also no batch number with a "1" as the first digit was used during WW2.
The FON is usually located on the neck block. The war-time list that follows is not definative but
includes FONs that I have seen. Unfortunately I don't have every range of FON's during this
period.
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Year Letter
---- ------
1952 Z
1953 Y
1954 X
1955 W
1956 V
1957 U
1958 T
1959 S
1960 R
1961 Q
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enough in 1956 to exceed "6 9999". 1959 & 1960 production was also very high,
exceeding "9 9999" and going to "932000" or higher.
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1938 95750
1939 96050
1940 96600
1941 97400
1942 97700
1943 97850
1944 98250
1945 98650
1946 99300
1947 99999 (April 28, 1947)
Year Number
---- ------
1947 A-100 (Apr 28)
A-411 (Jul 2)
A-1146 (Dec 1)
A-1304
1948 A-1305 (Jan 8)
A-1849 (Jul 2)
A-2613 (Dec 8)
A-2665
1949 A-2666 (Jan 5)
A-3353 (Jul 1)
A-4209 (Dec 1)
A-4413
1950 A-4414 (Jan 3)
A-5456 (Jul 3)
A-6312 (Dec 4)
A-6597
1951 A-6598 (Jan 4)
A-8030 (Jul 2)
A-9194 (Dec 3)
A-9419
1952 A-9420 (Jan 2)
A-11057 (Jul 1)
A-12202 (Dec 1)
A-12462
1953 A-12463 (Jan 8)
A-14332 (Jul 1)
A-15883 (Dec 2)
A-16101
1954 A-16102 (Jan 5)
A-17435 (Jul 1)
A-18496 (Dec 1)
A-18667
1955 A-18668 (Jan 6)
A-18750 (Jan 12, last white label.
Note A-18751 to A-19999 not used)
A 20001 (Jan 13, First orange label)
A 20991 (Jul 1)
A 21745 (Dec 1)
A 21909
1956 A 21910 (Jan 6)
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A 23387 (Jul 3)
A 24567 (Dec 1)
A 24755
1957 A 24756 (Jan 3)
A 25899 (Jul 3)
A 26695 (Dec 3)
A 26819
1958 A 26820 (Jan 6)
A 27816 (Jul 1)
A 28576 (Dec 1)
A 28880
1959 A 28881 (Jan 9)
A 30569 (Jul 13)
A 31844 (Dec 2)
A 32284
1960 A 32285 (Jan 4)
A 34068 (Jul 1)
A 35252 (Dec 1)
A 35645
1961 A 35646 (Jan 3)
A 35943 (Feb 1)
A 36147 (Feb 21, Last "A" number)
Left: The "inked on" serial number on a 1955 Les Paul standard solidbody guitar. This style serial number
was used on all 1953 to 1960 solidbody Gibson guitars.
Right: The "inked on" serial number on this 1959 Les Paul Junior has no space between the "9" digit (year)
and the rest of the numbers. This happened only in 1955, 1956, 1959 and 1960 when production required a
number above "9999", thus occupying the space.
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* In late 1958 some LP Juniors/Specials had a four digit serial number with no leading year
digit.
Note this style of "Made in the U.S.A." is NOT what is described below.
This style stamp was used on instruments exported to Canada
during the 1930s-1950s (this is a 1954 LP Junior).
Stamped in serial numbers, used from 1961 to 1969. The 1964 number on the left is still a "pressed in"
number, though gibson has inked the impression to make it more readable (they started doing this about
1963 or 1964, when serial numbers went to six digits). The number in the middle is from 1964 (on an
ES-335), and the number in the right is from 1961 (on an Les Paul TV Special). Note the lack of "Made in
USA", thus denoting these are pre-1970 guitars.
All models, stamped in back top of peghead. No "MADE IN USA" stamp below serial
number! Note many serial numbers are duplicated from 1963-1969. In these cases, to figure
out which is the exact year for a guitar, see the General Specs section for more details. ALSO
note: It is easy to confuse 5 digit and 6 digit serial numbers from this era, and hence get the
wrong year for a guitar. That is, 55555 is not the same number as 555555 (but when reading
the number off the back of a Gibson peghead, these two numbers do look very similar!)
Range Year
----- ----
0100 to 42440 1961
42441 to 61180 1962
61450 to 64222 1963
64240 to 71040 1964
71041 to 96600 1962, a few from 1963/1964
96601 to 99999 1963
000001 to 099999 1967 (all 6 digit numbers
starting with "0" are 1967)
100000 to 106099 1963 or 1967
106100 to 106899 1963
109000 to 109999 1963 or 1967
110000 to 111549 1963
111550 to 115799 1963 or 1967
115800 to 118299 1963
118300 to 120999 1963 or 1967
121000 to 139999 1963
140000 to 140100 1963 or 1967
140101 to 144304 1963
144305 to 144380 1964
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Number Year
------ ----
6 digits + A 1970
000000's 1973
100000's 1970-1975
200000's 1973-1975
300000's 1974-1975
400000's 1974-1975
500000's 1974-1975
600000's 1970-1972, 1974-1975
700000's 1970-1972
800000's 1973-1975
900000's 1970-1972
A + 6 digits 1973-1975
B + 6 digits 1974-1975
C + 6 digits 1974-1975
D + 6 digits 1974-1975
E + 6 digits 1974-1975
F + 6 digits 1974-1975
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Prefix Year
------ ----
99 1975
00 1976
06 1977
Note all Kalamazoo made instruments (1977-1984) and Bozeman (1989-present) are numbered
beginning with 001 each day. Instruments made at Nashville are numbered beginning with 500
each day.
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