gibson 1964 es-345 bigsby mono varitone semi-hollow

The gibson 1964 es-345 bigsby mono varitone semi-hollow

The gibson 1964 es-345 bigsby mono varitone semi-hollow, specifically the Bigsby-equipped, mono varitone, semi-hollow electric guitar, represents a distinct period in Gibson’s production history. This instrument, positioned as a refined iteration of the ES-335, exhibits a combination of stylistic choices and functional features that warrant detailed consideration. It is not merely a guitar; it is a complex assemblage of design decisions intended to provide the player with a broad sonic palette and a visually striking aesthetic.

Construction and Materials:

The gibson 1964 es-345 bigsby mono varitone semi-hollow, like its predecessor, employs a semi-hollow construction. This design utilizes a maple center block sandwiched between arched maple top and back plates. This construction aims to achieve a balance between the warmth and resonance associated with hollow-body guitars and the feedback resistance and sustain of solid-body instruments.

The center block, extending the length of the body, effectively reduces unwanted feedback, particularly at higher volumes. The sides of the body are typically constructed from maple, contributing to the instrument’s overall tonal clarity.

The neck, generally crafted from mahogany, is glued to the body using a traditional mortise and tenon joint. This neck joint contributes to the instrument’s sustain and overall resonance.

The fingerboard, often made from rosewood, features a 24.75-inch scale length, a standard measurement for many Gibson models. The neck profile, varying slightly between individual instruments, typically aligns with a slim taper or a slightly rounded C-shape, designed to facilitate comfortable playability. The neck is adorned with pearloid parallelogram inlays, a characteristic visual element of the gibson 1964 es-345 bigsby mono varitone semi-hollow.

Electronic Configuration:

The electronic configuration of the gibson 1964 es-345 bigsby mono varitone semi-hollow is a defining characteristic of this model. It is equipped with two humbucking pickups, typically Gibson’s patent number or patent applied for pickups. These pickups are designed to reduce hum and provide a warm, full-bodied tone.

The varitone circuit, a rotary switch offering multiple tonal variations, is a prominent feature. This circuit utilizes a series of capacitors and inductors to filter specific frequencies, producing six distinct tonal settings.3 These settings offer a range of tonal colors, from a subtle midrange scoop to a pronounced nasal quality.

This circuit, while offering a wide spectrum of tonal options, can also introduce a slight signal loss. The mono output configuration, as opposed to the stereo configuration found in some gibson 1964 es-345 bigsby mono varitone semi-hollow models, simplifies the signal path, resulting in a more direct and potentially louder output.

Bigsby Tremolo System:

The Bigsby B7 vibrato tailpiece, a mechanical device allowing for pitch modulation, is a significant component of this particular gibson 1964 es-345 bigsby mono varitone semi-hollow variant. This system utilizes a spring-loaded arm connected to a roller bar, enabling the player to create vibrato effects.

The Bigsby system, while capable of producing subtle pitch variations, is generally not designed for extreme dive-bombing effects. It primarily facilitates a gentle, shimmering vibrato. The presence of the Bigsby system necessitates a modified bridge, typically a tune-o-matic bridge with a roller saddle design, to accommodate the string movement.

Aesthetic Considerations:

The gibson 1964 es-345 bigsby mono varitone semi-hollow exhibits a refined aesthetic, reflecting its position as a higher-end instrument. The use of gold hardware, including the tuners, bridge, and tailpiece, contributes to its luxurious appearance.

The binding, typically multi-ply, enhances the visual definition of the body and neck. The finish, often a sunburst or cherry red, is applied with a high degree of craftsmanship, resulting in a smooth and lustrous surface. The parallelogram inlays, as previously mentioned, add a distinct visual element to the fingerboard.

Playability and Sonic Characteristics:

The semi-hollow construction of the gibson 1964 es-345 bigsby mono varitone semi-hollow contributes to a resonant and airy tone. The humbucking pickups provide a warm and full-bodied sound, suitable for a variety of musical genres. The varitone circuit offers a wide range of tonal options, allowing the player to tailor the instrument’s sound to specific musical contexts. The Bigsby vibrato system facilitates the creation of subtle pitch variations, adding a unique expressive dimension to the instrument.

The neck profile, typically a slim taper or a rounded C-shape, offers comfortable playability. The 24.75-inch scale length provides a comfortable string tension and facilitates bending techniques. The semi-hollow construction, while contributing to the instrument’s resonance, can also make it susceptible to feedback at high volumes.

Historical Context:

The 1964 ES-345 occupies a specific period in Gibson’s production history. This era is characterized by a focus on refined design and functional features. The ES-345, positioned as a higher-end instrument, reflects this emphasis on quality and craftsmanship. The Bigsby-equipped, mono varitone variant represents a specific configuration within the ES-345 model line, offering a unique combination of features.

Considerations and Limitations:

The varitone circuit, while offering a wide range of tonal options, can introduce a slight signal loss. The Bigsby vibrato system, while capable of producing subtle pitch variations, is generally not designed for extreme dive-bombing effects. The semi-hollow construction can make the instrument susceptible to feedback at high volumes. The gold hardware, while visually appealing, can be prone to wear and tarnishing over time.

Conclusion:

The 1964 Gibson ES-345, specifically the Bigsby-equipped, mono varitone, semi-hollow electric guitar, represents a complex and nuanced instrument. Its combination of refined design, functional features, and sonic characteristics makes it a distinctive example of Gibson’s production during this period. The instrument is a tangible representation of design choices, each contributing to the overall sonic and aesthetic output. While certain limitations exist, the instrument’s broad sonic palette and aesthetic appeal have ensured its place within the historical timeline of electric guitar design.