1960s Gibson ES-335, ES-345, and ES-355: Understanding the Differences Between Gibson's Semi-Hollow Classics

Why These Models Matter to Collectors and Players

The Gibson ES-335, ES-345, and ES-355 represent three of the most significant semi-hollow electric guitars ever produced, particularly during their golden era of the 1960s. While these instruments share the revolutionary thinline semi-hollow body construction that Gibson introduced in 1958, each model offers distinct features, tonal characteristics, and market values that are crucial for collectors, players, and sellers to understand.

For vintage guitar owners considering selling their 1960s Gibson semi-hollow instruments, understanding these differences can mean thousands of dollars in proper valuation. At Edgewater Guitars, we specialize in authenticating and fairly pricing these specific models, and we consistently pay 30-40% more than typical guitar shops because we understand the nuanced value factors that distinguish these instruments.

The 1960s represent a particularly important era for these models, spanning both the highly coveted pre-CBS years (before 1965) and the transitional period that followed. Whether you own a 1960 ES-335 or a 1969 ES-355, understanding your instrument's specific features and market position is essential.

Historical Development and Model Positioning

The ES-335: The Revolutionary Foundation

When Gibson introduced the ES-335 in 1958, it solved a fundamental problem that had plagued electric guitarists: feedback. By creating a semi-hollow design with a solid maple center block running through the body, Gibson gave players the warm, rich tone of a hollow-body guitar with the feedback resistance and sustain of a solid-body instrument.

Throughout the 1960s, the ES-335 served as Gibson's "workhorse" semi-hollow model—the entry point into this revolutionary design. It featured dot position markers, a more modest aesthetic, and simplified electronics compared to its upscale siblings. This positioning made it more affordable when new, but ironically, the ES-335 has become the most desirable of the three models for many modern players and collectors due to its pure, unfettered tone and classic appearance.

The ES-345: The Middle Ground

Introduced in 1959, the ES-345 was positioned as the mid-level offering in Gibson's semi-hollow lineup. Gibson designed this model to appeal to players who wanted more features than the ES-335 but at a lower price point than the top-of-the-line ES-355. The ES-345 incorporated stereo wiring and Gibson's Varitone circuit—a six-position rotary switch that offered different tonal filtering options.

During the 1960s, the ES-345 represented a significant upgrade path for working musicians who wanted additional tonal versatility. The model featured block position markers (rather than dots), multi-ply binding, and more elaborate aesthetics than the ES-335.

The ES-355: Gibson's Flagship Semi-Hollow

The ES-355, also introduced in 1959, represented Gibson's ultimate statement in semi-hollow guitar design. This was the company's flagship thinline model, featuring the most elaborate appointments, premium materials, and sophisticated electronics. The ES-355 was marketed to professional players and serious enthusiasts who demanded the absolute best Gibson could offer.

Throughout the 1960s, the ES-355 maintained its position at the top of Gibson's semi-hollow hierarchy, with prices that reflected its premium status. Notable players like B.B. King, Chuck Berry, and Freddie King elevated the model's profile during this crucial decade.

Key Physical Differences Between Models

Fingerboard Inlays and Binding

ES-335: Features simple pearloid dot position markers on the rosewood fingerboard. Single-ply binding on the body top and back. No binding on the fingerboard itself. This simpler aesthetic gives the ES-335 its clean, understated appearance.

ES-345: Upgraded to pearloid block position markers, which Gibson associated with more premium models. Multi-ply (white-black-white) binding on the body. Single-ply binding on the fingerboard edges. This binding treatment significantly elevates the visual presence of the instrument.

ES-355: Features the most elaborate pearloid block position markers (identical to the ES-345). Multi-ply binding on both body and fingerboard. Additionally, many ES-355 models featured split-diamond headstock inlays rather than the standard Gibson crown logo, though some examples retained the crown. The bound headstock (found on many ES-355s) was another premium touch not found on the other models.

Headstock Appointments

ES-335: Standard "crown" Gibson logo inlay on an unbound headstock with a simple volute.

ES-345: Standard "crown" Gibson logo inlay, typically on an unbound headstock (though some late 1960s examples featured binding).

ES-355: Many examples featured the distinctive split-diamond headstock inlay instead of the crown logo, creating an immediately recognizable visual signature. Bound headstocks were common but not universal. Some ES-355 examples retained the crown logo, so this feature alone doesn't definitively identify the model.

Hardware Differences

ES-335: Standard nickel-plated hardware throughout the 1960s. Simple white plastic pickup rings, control knobs, and switch tip. ABR-1 Tune-o-matic bridge with stopbar tailpiece (early examples) or Bigsby vibrato (optional).

ES-345: Similar hardware to the ES-335 but with the addition of the Varitone rotary switch, which required modified control layouts. Standard nickel hardware in most cases.

ES-355: Available with either nickel or gold-plated hardware. Gold hardware significantly impacts current market value. The tailpiece typically featured an ornate, engraved design (often with floral patterns) rather than the plain stopbar. Some examples included factory Bigsby vibratos. The more elaborate tailpiece designs contribute to the model's luxurious appearance.

Electronics: The Critical Distinction

The electronics represent perhaps the most significant functional difference between these three models, fundamentally affecting both their original appeal and current market dynamics.

ES-335 Electronics

The ES-335 featured straightforward, pure electronics throughout the 1960s:

• Two PAF humbucking pickups (until approximately 1963, when patent-number pickups replaced them)

• Standard four-control layout: two volumes, two tones

• Three-way toggle switch for pickup selection

• Mono output only

• No tone-shaping circuits beyond the basic volume and tone controls

This simple, direct signal path is precisely why many modern players and collectors prefer the ES-335. There's nothing between the pickups and the output jack except volume and tone potentiometers, allowing the natural voice of the pickups and wood to come through unfiltered.

ES-345 Electronics (The Varitone System)

The ES-345 incorporated Gibson's Varitone circuit, which fundamentally altered the instrument's electronic architecture:

• Two PAF humbucking pickups (or patent-number pickups in later examples)

• Stereo wiring capability with two separate output jacks (or a special stereo cable)

• Six-position Varitone rotary switch that engaged different capacitor combinations

• Four-control layout: two volumes, two tones

• Three-way pickup selector

The Varitone circuit offered six different tonal variations by engaging various capacitors that filtered specific frequencies. Positions ranged from bypassed (position 1, essentially normal tone) through increasingly filtered settings that removed bass frequencies and created thinner, more nasal tones. While this seemed innovative in 1959, many players found the filtered tones less useful than expected, and the Varitone often added noise to the signal path.

The stereo capability meant that each pickup could be routed to a separate amplifier or speaker, though few players actually used this feature. Most simply connected the guitar with a standard mono cable, which summed both pickups to mono.

ES-355 Electronics

The ES-355 came in two distinct electronic configurations during the 1960s:

ES-355TD-SV (Stereo Varitone): Identical electronics to the ES-345, including the Varitone circuit and stereo wiring. This was the more common configuration.

ES-355 MONO: A simpler version without the Varitone circuit, featuring straightforward mono wiring like the ES-335. This version is significantly rarer and often more desirable to players who want the ES-355's premium appointments without the Varitone circuit.

The mono ES-355 models command premium prices in today's market because they combine the luxury appointments of the flagship model with the pure, unfettered tone of simple electronics.

Key Value Factors Across All Models

Originality: All-original examples with matching PAF pickups, original finish, and unmodified electronics command 40-60% premiums over refinished or modified examples.

PAF Pickups: The presence of original PAF humbuckers (identifiable by the patent-pending sticker or lack of patent number) dramatically affects value. These pickups were used until approximately 1963-1964.

Finish Condition: The nitrocellulose lacquer finishes on 1960s Gibson semi-hollows are prone to checking, fading, and wear. Light checking actually adds to authenticity, but heavy finish wear or touch-ups reduce value.

Neck Condition: Check carefully for headstock repairs, neck resets, or refrets. Original frets are rare but add value when present.

Electronics Modifications: Many ES-345 and stereo ES-355 models have been converted to mono wiring or had the Varitone circuit removed or bypassed. While this may improve tone, it reduces collector value.

At Edgewater Guitars, we understand these nuanced value factors and consistently pay 30-40% more than typical guitar shops for premium examples. Our expertise in authentication ensures you receive fair market value based on your specific instrument's configuration and condition.

Detailed Identification Guide for 1960s Models

Serial Numbers

Gibson's serial number system for 1960s semi-hollow guitars can be confusing, but understanding it is crucial for authentication:

1961-1969: Gibson used a six-digit serial number stamped into the back of the headstock. The general ranges are:

• 1961: 100-42440

• 1962: 42441-61180

• 1963: 61450-64220

• 1964: 64240-71040

• 1965: 71041-96600

• 1966: 96601-99999, then 000001-008100

• 1967: 008101-042900

• 1968: 042901-070100

• 1969: 070101-099999

However, Gibson's serial numbers often overlap between years and should always be verified with other dating methods. The serial number alone cannot definitively date these instruments.

Factory Order Numbers (FON)

A more reliable dating method involves the Factory Order Number, stamped inside the body and visible through the f-holes. This orange or black stamp appears on the back of the body inside the bass-side f-hole and follows this format:

Example: "R 8512 12" would indicate:

• R = ES-335, ES-345, or ES-355 model designation

• 8512 = The 8,512th guitar in this batch

• 12 = 1962

The last digits before the year indicate the production sequence. The year digit (last digit or two digits for later 1960s examples) helps date the instrument more accurately than serial numbers.

Potentiometer Date Codes

The potentiometers inside the control cavity provide crucial dating information:

Code Format: 137 64 45

• 137 = CTS manufacturer code (Centralab used 134)

• 64 = Year (1964)

• 45 = Week number (45th week of 1964)

Important considerations:

• Pots may be dated several months before the guitar was assembled

• All pots in an original guitar should show dates within a reasonable timeframe

• Mismatched pot codes indicate replacement parts

• Original 1960s Gibson guitars used either CTS (137) or Centralab (134) pots

Pickup Identification

Distinguishing between PAF and patent-number pickups is critical for valuation:

PAF Humbuckers (approximately 1958-1963):

• "Patent Applied For" sticker on the bottom (often missing on older examples)

• No patent number embossed on the cover

• Typically show resistance readings of 7.5k-9.0k ohms

• Wiring typically uses single-conductor shielded cable

• Slightly rougher casting on pickup covers

• These pickups command significant premiums

Patent Number Humbuckers (1963/1964-1969):

• Patent number embossed on the pickup cover (2,737,842 or multiple patent numbers)

• No "Patent Applied For" sticker

• More consistent resistance readings around 7.5k-8.0k ohms

• Pickup covers have smoother, more refined casting

• Two-conductor wiring in later examples

Finish Identification

Understanding finish variations helps with authentication and valuation:

Sunburst: The most common finish throughout the 1960s. Early 1960s sunbursts used more red pigment that has often faded to yellow or amber. The shading patterns and color intensity varied throughout the decade.

Cherry (Cherry Red/Cherry Sunburst): A solid or lightly shaded red finish that was popular throughout the period. Less prone to UV fading than traditional sunburst.

Natural: Features a clear finish showing the maple top's figure. This was the premium finish option and is relatively rare, commanding higher prices today.

Custom Colors: Very rare examples exist in colors like Pelham Blue, Ebony, or Walnut. These custom finishes significantly increase value when original.

Model-Specific Identification

Confirming ES-335:

• Dot position markers

• Single-ply binding on body only

• No Varitone switch

• Single mono output jack

• Four controls (2 volume, 2 tone) plus three-way toggle

Confirming ES-345:

• Block position markers

• Multi-ply binding on body and fingerboard

• Six-position Varitone switch

• Two output jacks (or one stereo jack)

• Four controls plus Varitone rotary switch and three-way toggle

Confirming ES-355:

• Block position markers

• Multi-ply binding on body and fingerboard

• May feature split-diamond headstock inlay (not always present)

• Often has bound headstock

• Ornate tailpiece (not plain stopbar)

• Gold or nickel hardware

• Either stereo/Varitone (ES-355TD-SV) or mono configuration (ES-355 MONO)

Tonal Characteristics and Playing Differences

ES-335: The Pure Voice

The ES-335 offers the most direct tonal experience of the three models. Without the Varitone circuit filtering the signal, players experience:

• Rich, warm midrange with excellent note definition

• Strong fundamental tone with complex overtones

• Excellent balance between the semi-hollow warmth and solid-body clarity

• Responsive to playing dynamics and pickup height adjustments

• Classic "Gibson" tone that works across multiple musical genres

• Less susceptible to electronic noise than the more complex ES-345/355 wiring

Many professional players and collectors consider the ES-335's straightforward electronics superior for achieving pure, unfiltered tone. The signal path's simplicity means fewer potential points of tone degradation or noise introduction.

ES-345: The Versatile Option

The ES-345's Varitone circuit offers distinct tonal variations, though opinions on its usefulness vary widely:

• Bypass position (1) delivers tone similar to the ES-335

• Positions 2-6 progressively filter bass frequencies

• Some positions create useful "quack" tones for rhythm work

• The circuit can introduce additional noise into the signal path

• Stereo capability allows creative dual-amp setups

• Some players find the filtered positions thin or unusable

• Others appreciate the additional palette of tones available

The Varitone circuit remains controversial among players. Some view it as innovative and useful, while others consider it a tone-robbing gimmick. This division explains why ES-345 values lag behind ES-335 values despite the model's more elaborate appointments.

ES-355: Luxury and Options

The ES-355's tonal characteristics depend on its specific configuration:

Stereo/Varitone Models: Identical tonal capabilities to the ES-345, with the same advantages and disadvantages of the Varitone circuit. The more elaborate appointments and hardware don't significantly affect the basic tone.

Mono Models: These rare variants offer ES-335-style pure tone with ES-355 luxury appointments—a combination many players consider ideal. The gold hardware (when present) adds visual luxury without affecting tone.

Across all three models, the fundamental semi-hollow construction with maple center block creates the signature voice: warm like a hollow-body but controlled and defined like a solid-body, with excellent sustain and feedback resistance.

Common Issues and What to Check

Structural Concerns

Neck Joint Issues: The set-neck construction can develop gaps or cracks where the neck meets the body, particularly if the guitar experienced temperature or humidity stress. Check the neck-to-body joint carefully under good lighting for any gaps or cracks in the finish.

Headstock Repairs: Gibson's angled headstock design is vulnerable to breaks, especially from impacts. Examine the headstock carefully for any signs of repair, including finish discontinuities, filled wood grain, or unusual bonding lines. Professional repairs don't necessarily destroy value, but undisclosed repairs certainly do.

Top Cracks: The arched maple tops can develop cracks, particularly along the centerline or near the f-holes. Small cracks are relatively common and repairable, but extensive cracking significantly reduces value.

Binding Deterioration: The multi-ply binding on ES-345 and ES-355 models can shrink, crack, or separate from the body over time. While cosmetic, binding issues are expensive to repair properly.

Electronics Problems

Varitone Circuit Issues: The Varitone switches in ES-345 and stereo ES-355 models are prone to failure, creating scratching, crackling, or intermittent operation. The capacitors in the circuit can also degrade over time. Many owners have had these circuits bypassed or removed entirely.

Potentiometer Wear: Sixty-year-old potentiometers often become scratchy or lose their sweep. While replacement is sometimes necessary for functionality, original pots add value for collectors.

Output Jack Problems: The stereo jacks used in ES-345 and stereo ES-355 models are particularly prone to failure and are difficult to source as exact replacements.

Pickup Issues: Original PAF and patent-number pickups can develop broken coil wires, especially if the guitar has been disassembled multiple times. Testing resistance with a multimeter helps verify pickup integrity.

Finish Problems

Checking: Nitrocellulose lacquer finishes naturally develop fine cracks (checking) over time. Light checking is expected and even desirable for vintage instruments, but heavy checking or finish loss reduces value.

Fading: Sunburst finishes, particularly those with red pigment, fade significantly when exposed to UV light. While some fading is expected and accepted, extreme fading reduces value.

Touch-ups and Refinishing: Many vintage Gibson semi-hollows have undergone partial refinishing or touch-up work. These repairs significantly impact value, with refinished instruments bringing 40-60% less than all-original examples.

Buckle Rash: Nearly all played vintage guitars show wear on the back from belt buckles. Light wear is acceptable and expected, but deep gouges or finish loss affects value.

Hardware Modifications

Tuner Replacements: Many ES-335, ES-345, and ES-355 guitars have had their original Kluson tuners replaced with Grover or Schaller tuners. While these may improve functionality, they reduce collector value. Look for additional screw holes in the headstock back, which indicate replaced tuners.

Bridge and Tailpiece Changes: Original ABR-1 bridges and stopbar tailpieces are sometimes replaced with modern Nashville-style bridges or aftermarket tailpieces. Original hardware is strongly preferred.

Electronics Conversions: As mentioned, many ES-345 and stereo ES-355 models have been converted to mono wiring or had Varitone circuits removed. While these modifications may improve tone and reduce noise, they hurt collector value.

Why Collectors and Players Value These Models

Historical Significance

These three models represent Gibson's successful solution to a fundamental problem in electric guitar design. The semi-hollow construction with maple center block became instantly iconic and influenced countless subsequent designs from other manufacturers. Owning a 1960s example means possessing a piece of this innovative history.

Build Quality

The 1960s, particularly the pre-CBS era before 1965, represents Gibson's peak in terms of craftsmanship, materials, and attention to detail. These guitars benefited from:

• Old-growth mahogany for bodies and necks

• Carefully selected maple for tops

• Hand-wound pickup coils by skilled workers

• Nitrocellulose lacquer finishes applied in multiple thin coats

• Individual attention from experienced luthiers

Even the post-1965 examples maintain high build quality by modern standards, though purists often prefer the earlier examples.

Playability

The 1960s Gibson semi-hollows offer exceptional playability characteristics:

• Medium C-shaped neck profiles that fit most hands comfortably

• 1-11/16" nut width balances chord playing and single-note lead work

• 24.75" scale length reduces string tension for easier bending

• Relatively low action potential due to good neck angles and quality fretwork

• Well-balanced weight distribution (typically 8-9 pounds)

Tonal Versatility

These instruments excel across multiple musical genres, from jazz and blues to rock and country. The semi-hollow construction provides warmth for jazz chording while offering enough clarity and sustain for blues and rock lead playing. This versatility explains why these models remain relevant and desirable more than sixty years after introduction.

Investment Potential

Vintage 1960s Gibson semi-hollows have appreciated steadily over the past two decades, with early PAF-equipped examples showing particularly strong growth. While past performance doesn't guarantee future returns, these instruments have proven resilient as both musical tools and collectibles.

Selling Your 1960s Gibson ES-335, ES-345, or ES-355

If you own one of these vintage Gibson semi-hollow guitars, understanding your options for selling is crucial to maximizing your return.

Why Choose Edgewater Guitars?

Expert Authentication: Our team specializes in authenticating vintage Gibson guitars. We understand the subtle differences between models and years, and we can identify refinishes, replaced parts, and other value-affecting factors that general music stores might miss.

Premium Valuations: We consistently pay 30-40% more than typical guitar shops for quality vintage Gibson semi-hollows. Because we specialize in these instruments and maintain relationships with serious collectors, we can offer prices that reflect true market value rather than the deep discounts required by retail shops.

Immediate Payment: Unlike consignment arrangements that can take months, we offer immediate cash payment or direct bank transfer. For high-value instruments, we'll travel to you anywhere in Ohio, Michigan, Pennsylvania, Indiana, or West Virginia for in-person evaluation and payment.

No-Hassle Process: Selling a valuable vintage guitar should be straightforward, not stressful. We handle all logistics, provide clear documentation, and make the process as simple as possible. Many of our clients are settling estates, downsizing collections, or simply ready to move on from instruments they no longer play.

Discretion and Security: We understand that valuable vintage guitars require special handling. For high-value instruments, we provide secure, discreet transactions with appropriate documentation for insurance and tax purposes.

Compared to Other Selling Options

Local Guitar Shops: Most music stores offer 40-50% of retail value (or less) because they need significant markup margins. They also may lack expertise in accurately dating and valuing specific vintage models.

Online Marketplaces: While platforms like Reverb or eBay can theoretically yield higher prices, they involve significant time investment, shipping risks, potential scams, and fees that often total 10-15% of the sale price. Shipping a valuable vintage guitar also carries risk of damage.

Consignment: Upscale vintage guitar dealers offer consignment, but this typically involves 20-25% commissions and months of waiting for the right buyer. Your guitar is also subject to condition changes or damage while in someone else's possession.

Private Sales: Finding qualified buyers privately is challenging and involves risks of fraud, bounced checks, or personal safety concerns when meeting strangers with valuable instruments.

Ready to discuss your vintage Gibson ES-335, ES-345, or ES-355? Contact Edgewater Guitars today for a free, no-obligation valuation. Call us directly at (440) 219-3607 or fill out our online quote form.

Essential Resources for Gibson Semi-Hollow Owners

Dating and Authentication Tools

• Gibson Serial Number Decoder: Understanding Gibson's sometimes-confusing serial number systems

• Factory Order Number Guide: More reliable dating using FON stamps

• Potentiometer Code Reference: Dating your guitar using electronics date codes

• PAF Pickup Identification Guide: Distinguishing genuine PAF pickups from patent-number and replacement pickups

Related Model Information

• 1960s Gibson ES-330 Guide: Understanding the fully-hollow cousin to these semi-hollow models

• Gibson ES-335 Year-by-Year Value Guide: Detailed information on specific years

• Gibson Hardware Reference: Original specification guide for bridges, tailpieces, and tuners

• Gibson Finish Guide: Understanding original finishes versus refinishes

Selling Resources

• How to Prepare Your Vintage Guitar for Sale: Maximize value through proper documentation

• Understanding Vintage Guitar Condition Grading: Learn the standards collectors use

• Main Selling Page: Get your free valuation from Edgewater Guitars

Recent Purchase Example: 1962 ES-335 from Columbus

We recently acquired an exceptional 1962 Gibson ES-335 in original Sunburst finish from a collector in Columbus, Ohio. The guitar featured all-original PAF pickups, matching pot codes, and the original hardshell case. After providing an in-person appraisal, we made an immediate cash offer that exceeded the owner's expectations by more than $4,000 compared to quotes from local music stores.

The seller appreciated our detailed authentication process and the confidence that came from working with specialists who understood the specific value factors of early 1960s ES-335 guitars. The transaction was completed in less than an hour from our initial meeting, with immediate payment.

This is typical of how Edgewater Guitars approaches premium vintage instruments—with expertise, fair pricing, and a streamlined process that respects both the instrument and the seller.

Get Your Free Valuation Today

Edgewater Guitars specializes in purchasing vintage Gibson guitars throughout Ohio, Michigan, Pennsylvania, Indiana, and West Virginia. Whether you own a 1960s ES-335, ES-345, ES-355, or any other vintage Gibson instrument, we offer expert authentication, premium valuations, and immediate payment.

For high-value instruments like early 1960s PAF-equipped models, we travel to you for in-person evaluation and secure transactions. Our team of experts understands the nuanced differences between these models and the specific value factors that affect each variant.

Contact us today for your free, no-obligation valuation:

• Phone: (440) 219-3607

• Online Quote Form: Visit our website

• Email: Available through our contact page

Don't settle for generic music store offers that don't reflect the true collector value of your vintage Gibson semi-hollow. Work with specialists who understand these instruments and can offer the fair market price your guitar deserves.

About the Author: The team at Edgewater Guitars has over 40 years of combined experience authenticating, evaluating, and purchasing vintage Gibson guitars. We maintain extensive reference libraries, original specification documents, and direct relationships with leading vintage guitar experts and collectors nationwide.